1.
House music
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House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. House music became popular in Chicago clubs in 1984 and it was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, in the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mid-1990s, house music has been infused in mainstream pop, in the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a successful genre and a more mainstream pop-based variation grew increasingly popular. House music has also fused with other genres creating fusion subgenres, such as euro house, tech house, electro house. After enjoying significant success in the early to mid-90s, house music grew even larger during the wave of progressive house. The genre has remained popular and fused into other subgenres, for example, ghetto house, deep house. As of 2016, house music popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe. The song structure of music songs typically involves an intro, a chorus, various verse sections, a midsection. Some songs do not have a verse, taking a part from the chorus. The drum beat is one of the important elements within the genre and is almost always provided by an electronic drum machine rather than by a human drummer playing drumkit. The drum beats of house are four on the floor, with bass drums played on every beat, House music is often based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. The tempo of most house songs is between 118 and 135 beats per minute, soul music and disco influenced house music. These artists produced longer, more repetitive, and percussive arrangements of existing disco recordings, early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. Rachel Cain, co-founder of an influential Trax Records, was involved in the burgeoning punk scene and cites industrial

2.
Techno
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Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built. Added to this is the influence of futuristic and fictional themes relevant to life in American late capitalist society, pioneering producer Juan Atkins cites Tofflers phrase techno rebels as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation, in this manner, techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness. Stylistically, techno is generally repetitive instrumental music, oftentimes produced for use in a continuous DJ set, the tempo tends to vary between approximately 120 to 150 beats per minute, depending on the style of techno. The creative use of production technology, such as drum machines, synthesizers. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound, drum machines from the 1980s such as Rolands TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers. The Electrifying Mojo was the first radio DJ to play music by the Detroit techno producers Juan Atkins, Derrick May, Mojo refused to follow pre-established radio formats or playlists, and he promoted social and cultural awareness of the African American community. In exploring technos origins writer Kodwo Eshun maintains that Kraftwerk are to Techno what Muddy Waters is to the Rolling Stones, the authentic, the origin, the real. Juan Atkins has acknowledged that he had an enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroders work with Donna Summer. Atkins also mentions that around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and Id ride around in my car playing it. Regarding his initial impression of Kraftwerk, Atkins notes that they were clean, Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty, everything is an ugly mess in Detroit, and so we were attracted to this music. May has commented that he considered his music a direct continuation of the European synthesizer tradition and he also identified Japanese synthpop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk. In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year. These young promoters developed and nurtured the local music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs

3.
Planet Funk
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Planet Funk is an Italian electronic dance musical ensemble. Alex Uhlmann joined as the bands latest lead singer in November 2010 and their first single, Chase the Sun, reached number five on the UK Singles Chart in 2001. The melody is borrowed from Ennio Morricones tune Alla Luce Del Giorno, off the score of the 1969 film Metti, the song has enjoyed a rise in popularity ever since Sky Sports began using it during its coverage of the Professional Darts Corporations major tournaments. The crowds in the venues are encouraged to chant and rave to the song during the breaks of matches. English Championship Football team Reading also use the song for a song after they score a goal. Conference side Gateshead play this song at the end of a game, english Super League team Wigan Warriors are known to use the song following a successful drop-kick. The Melbourne spring racing carnival used the song during promotional TV advertisements during the mid- to late 2000s, AFC Bournemouth also use the chant for the infamous striker Brett Pitman. Their second single, Inside All the People, reached no.9 in the Italian singles charts and their third single was Who Said which also gained significant commercial success. Their 2007 single release, Static, appeared on FIFA08 and they are also remixers, with their highest-profile work to date being New Orders Waiting for the Sirens Call. In May 2006 they became the first musical group to release a single exclusively as a mobile phone download, in 2009 they released the single Lemonade which is featured on their album Planet Funk. The single Weightless was released in 2010, a collaboration between Planet Funk and Swedish artist Emilia de Poret. Their album The Great Shake, featuring the new lead singer Alex Uhlmann, was released in September 2011, the first single, Another Sunrise was released in Italy in May 2011. In October 2015 they released the single We-People, a song that will support the campaign of Save the Children. The single anticipates the release of a new album, scheduled for release in early 2016,2002, Non Zero Sumness 2005, The Illogical Consequence 2006, Static 2009, Planet Funk 2011, The Great Shake 2016, TBA

4.
Movement (New Order album)
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Movement is the debut studio album by the English rock band New Order, released in November 1981 on Factory Records. At the time of its release, the album was not particularly well received by critics or consumers, subsequent critical reception for Movement have been very positive. In 2008 the album was re-released in a Collectors Edition with a bonus disc, slant Magazine listed the album at No. In 2015, after the release of their album, Music Complete. With the exception of two songs, Ceremony and In a Lonely Place, all the material played would be new, a couple of songs on Movement stem from the initial songwriting session the band undertook in the summer of 1980. Dreams Never End and Truth were both played at the initial New Order concerts in the US that September, at this point it was still undecided as to who should be vocalist. The interim solution was all three members took turns at singing before finally deciding that Bernard Sumner should take the main vocalists role with Peter Hook as back-up. The producer of the album was once again Martin Hannett, who had worked with them as Joy Division, however and it would be the last time they worked together. It is rumoured that the band considered either re-mixing or even entirely re-recording the album, fortunately, a new song called Temptation would provide the band with the necessary impetus and a new direction. Musically, Movement is a transitional album, references to Ian Curtis appear on the songs ICB and The Him. The expansion of the sonic palette heard on Closer is also present on this album with synths on all but the opening track, hooks bass takes on a melodic role while Gilbert provides the low end on the songs Chosen Time and Denial. However, despite this continuity, Movement also hints at New Orders distinct sound on its later albums, tracks such as Senses flirt with funkier guitar motifs than Joy Division, and Dreams Never End is the only song on this album with the classic guitar-bass-drums line-up. Peter Hook later revealed, We were confused musically, I dont know how we pulled out of that one. I actually liked Movement, but I know why nobody likes it. It was good for the first two-and-a-half minutes, then it dipped, the albums cover was designed by Peter Saville and is based on a poster by the Italian Futurist Fortunato Depero. The four horizontal lines create three rows, the top one saying New Order, the middle FACT501981, the blue colour of the lines was chosen by the band, the first copies in the US had the same design in brown on an ivory background. All tracks written by Bernard Sumner, Peter Hook, Gillian Gilbert and Stephen Morris, except where indicated

5.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu

6.
New Order (band)
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New Order are an English rock band formed in 1980, currently comprising Bernard Sumner, Stephen Morris, Gillian Gilbert, Phil Cunningham and Tom Chapman. The band was formed in 1980 by Sumner, Morris, and Peter Hook and they added Gilbert later that year. By combining post-punk with an influence from electronic and dance music, New Order became one of the most critically acclaimed. The bands 1983 hit Blue Monday, the best-selling 12-inch single of all time, is one example of how their sound became increasingly uptempo, New Order were the flagship band for Manchester-based independent record label Factory Records. Their unlabelled album sleeves and non-image reflected the aesthetic of doing whatever the relevant parties wanted to do. Throughout their career, the records were art-directed by designer Peter Saville. The group disbanded in 1993 to work on projects. In 2001, Cunningham replaced Gilbert, who took a sabbatical from the band because of family commitments, in 2007, Hook left the band over personal conflicts. After Hooks departure, Sumner, Cunningham, and Morris worked on Bad Lieutenant, the band members have been involved in several solo projects, such as Sumners Electronic and Bad Lieutenant, Hooks Monaco and Revenge and Gilbert and Morris The Other Two. In September 2015, the released their tenth studio album. Between 1977 and 1980, Ian Curtis, Peter Hook, Stephen Morris, Curtis committed suicide on 18 May 1980, the day before Joy Division were scheduled to depart for their first American tour, and prior to release of the bands second album, Closer. The rest of the band decided soon after Curtiss death that they would carry on, prior to his death, the members of Joy Division had agreed not to continue under the Joy Division name should any one member leave. On 29 July 1980, the unnamed trio debuted live at Manchesters Beach Club. Rob Gretton, the manager for over twenty years, is credited for having found the name New Order in an article in The Guardian entitled The Peoples New Order of Kampuchea. The band adopted this name, despite its previous use for former Stooge Ron Ashetons band The New Order, the group states that the name New Order does not draw a direct line to Nazism or Fascism. The band rehearsed with each taking turns on vocals. Sumner ultimately took the role, as he could sing when he wasnt playing his guitar and they wanted to complete the line-up with someone they knew well and whose musical skill and style was compatible with their own. Gretton suggested Morriss girlfriend Gillian Gilbert, and she was invited to join the band in early October 1980 and her first live performance with the band occurred at The Squat in Manchester on 25 October 1980

7.
True Faith (song)
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True Faith is a song by New Order, produced by Stephen Hague. It was the first New Order single since their debut Ceremony to be issued in the UK as two separate 12 singles, the second 12 single features two remixes of True Faith by Shep Pettibone. Both versions of the 12 include the song 1963, True Faith is one of New Orders most popular songs. The single peaked at No.4 in the United Kingdom on its release in 1987. True Faith became New Orders first single to chart in the Hot 100 and would go on to be a top 40 hit in the United States. A True Faith remix 12 single and CD single were released in 1994, the 1994 remix charted in the UK at No.9. New Order wrote and recorded True Faith and 1963 during a 10-day studio session with producer Stephen Hague, the two songs were written as new material for New Orders first singles compilation album, Substance 1987. After the two songs were recorded, the bands US management decided that True Faith was the track and would be released as the new single. That wasnt really a period in New Orders life, recalled Peter Hook. Lets just say it was a bit of a battle for me to get on there at all, musically, we were moving more towards straight dance and I was keen on keeping the New Order Id known and loved. I eventually managed to get my bass on the original version, but, of course, the first thing any remixers do is take off my bass and put their own on. I sometimes feel like attaching a note saying, How about keeping the bass, True Faith was never used as a track on a regular album, though it did appear on most of New Orders best of collections. The first public performance of the song took place at the 1987 Glastonbury Festival, the original 7 version of the song did not appear on any album until 2011s Total, From Joy Division to New Order. The release of True Faith was accompanied by a music video directed and choreographed by Philippe Decouflé. In it, bizarrely costumed dancers leap about, fight and slap each other in time to the music, while a man in green makeup emerges from an upside-down boxers speed bag. The video has often been voted amongst the best music videos of its year, sky Televisions channel The Amp, for instance, has it rated as the best video of 1987, and it won the BPI award for Best Promotional Video in 1988. The video was inspired by Bauhaus artist Oskar Schlemmers Triadisches Ballett, the overall tonality, themes and various elements from the video re-occurred in Decouflés scenography and choreography for the inauguration ceremonies of the 1992 Winter Olympics in Albertville. As is the case for many New Order songs of this period, the original lyrics included a verse that read Now that weve grown up together/Theyre all taking drugs with me

8.
Blue Monday (New Order song)
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Blue Monday is a song by the English rock/dance band New Order. It was released as a 12-inch single on 7 March 1983 through Factory Records, the song has been widely remixed and covered since its original release, and became a popular anthem in the dance club scene. It is the best-selling 12 single of all time, the song has been widely acclaimed and according to Acclaimed Music, the song is the 33rd most acclaimed song of all time. The song begins with a distinctive semiquaver kick drum intro, programmed on an Oberheim DMX drum machine, Gillian Gilbert eventually fades in a sequencer melody. The verse section features the songs signature throbbing synth line, played by a Moog Source. The synth bass line was sequenced on a Powertran Sequencer home built by Bernard, Bernard Sumner delivers the lyrics in a deadpan manner. Blue Monday is a hit song in that it does not feature a standard verse-chorus structure. After a lengthy introduction, the first and second verses are contiguous and are separated from the verse only by a brief series of sound effects. A short breakdown section follows the verse, which leads to an extended outro. According to Bernard Sumner, Blue Monday was influenced by four songs, the band claimed to have written the song in response to crowd disappointment at the fact that they never played encores. However, the band since have noted for playing Blue Monday as an encore. Despite selling well it was not eligible for a gold disc because Factory Records was not a member of the British Phonographic Industry association. In August 1983, New Order released their iconic Blue Monday, the 1983 edition artwork is designed to resemble a 5¼ floppy disk. The sleeve does not display either the name nor song title in plain English anywhere. Instead the legend FAC73 BLUE MONDAY AND THE BEACH NEW ORDER is represented in code by a series of coloured blocks, the key enabling this to be deciphered was printed on the back sleeve of the album, Power, Corruption & Lies. Blue Monday and Power, Corruption & Lies are two of four Factory releases from this period to employ the colour code, the others being Confusion by New Order. The singles original sleeve, created by Factory designer Peter Saville and it cost so much to produce that Factory Records actually lost money on each copy sold. In Shadowplayers, The Rise and Fall of Factory Records, Saville states I am so bored with this story and we didnt even know how many of these expensive covers were ever made anyway

9.
12-inch single
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The 12-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to typical LPs. This allows for levels to be cut on the disc by the cutting engineer, which in turn gives a wider dynamic range. This record type is used in disco and dance music genres. They are played at either 33 1⁄3 or 45 rpm, 12-inch singles typically have much shorter playing time than full-length LPs, thus require fewer grooves per inch. This extra space permits a broader dynamic range or louder recording level as the grooves excursions can be greater in amplitude. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many 12-inch singles, the gramophone records cut especially for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. With the 1967 Jamaican invention of remix, called dub on the island, those specials became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits. The popularity of sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967. By then 10-inch records were used to cut those dubs, by 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive dub plates on dances. Those dubs basically included drum and bass-oriented remixes used by sound system selecters, the 10-inch acetate specials would remain popular until at least the 2000s in Jamaica. Most likely, the use of exclusive dub acetates in Jamaica also led American DJs to do the same. In the United States, the 12-inch single gramophone record came into popularity with the advent of music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a 12-inch single by Buddy Fite, the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with run times to the 7-inch 45-rpm pressing of the single. Several hundred copies were available for sale for 98 cents each at two Tower Records stores. Another early 12-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, 12-inch promotional copies of Straight From My Heart were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation. It was manufactured by Jamie Record Co. of Philadelphia, PA, the B-side of the record is blank. The first 12-inch single made specifically for DJs was actually a 10-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton, the song was Ill be holding on by Al Downing

10.
Someone like You (New Order song)
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Someone Like You is a single released by New Order in December 2001. The single is unusual in New Orders back catalogue in the respect that it was issued primarily as a club DJ vinyl release, someone Like You was remixed by Futureshock, Gabriel & Dresden, James Holden and Funk Dvoid. The original album mix of the song was featured in Bam Margeras film Haggard, all tracks written by Gillian Gilbert, Peter Hook, Stephen Morris and Bernard Sumner. Lyrics of this song at MetroLyrics

11.
Felix da Housecat
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Felix da Housecat is an American DJ and record producer, mostly known for house music and electro. Felix is regarded as a member of the wave of Chicago house and has produced an eclectic mix of sound since, from resolute acid. He gained fame not only via his recordings, including Mezcalateer, Thee Maddkatt Courtship, Aphrohead and Sharkimaxx, Stallings developed an interest in the emergent Chicago house music scene at a young age. Also in 1987, Felix went to Alabama State University to study media, there he studied different musicians of the era, including Prince, A Tribe Called Quest, and Gang Starr, as well as developing an interest in hip hop and R&B tracks. After graduating, he released Thee Dawn on Guerilla Records and he became popular in Europe, and in the following year, By Dawns Early Light and Thee Industry Made Me Do It followed. A further single, In The Dark We Live, appeared under his pseudonym, originally released on the UK label, Bush, In The DaAlbum, followed in 1998. In 1999, he released In The Dark We Live, shortly afterwards, Stallings formed Radikal Fear Records. It released material from Mike Dunn, DJ Sneak, and Armando as well as Felix himself, the album I Know Electrikboy was never officially released in either the US or UK, although promotional copies are in circulation. At the end of year, Felix won Best Album at the now-defunct Muzik Awards. The ensuing fame brought Felix remix work for Madonna, Britney Spears, the proper follow-up, Devin Dazzle & the Neon Fever, was released in 2004, though Felix released a pair of mix albums, 2002s Excursions and 2003s A Bugged Out Mix, in between. Felix also collaborated with P Diddy on the pairs Jack U single, the pair remain friends, with Diddy performing alongside Felix at Space in Ibiza in 2005, and Felix performing at Diddys after-party for The Main Event at the Winter Music Conference. Various remixes of Silver Screen were used in games such as Midnight Club 2, and SSX3. The Soulwax Remix of his song Rocket Ride was featured in the game Need for Speed, everyone Is Someone in LA was featured in Tony Hawks American Wasteland. His songs have featured in television programs such as The Sopranos and Silver Screen featured in the party scene in Robert Downey, Jrs 2005 film. Felixs album, Virgo Blaktro and the Movie Disco, was released on October 2,2007 in the US on Nettwerk Records, production was overseen by Dallas Austin. Future Calls The Dawn was released on July 9,2007 on Wall of Sound/PIAS with Sweetfrosti featured as the B-side, Sweetfrosti contained a sample of Devos Snowball, originally released in 1981. Since then, Felix has released his first Global Underground compilation, for the Newcastle-upon-Tyne compilation, Felix also teamed up with Kris Menace to release Artificial in June 2008. In 2009, Felix released He Was King, via Nettwerk Records, passion Pit- Little Secrets Britney Spears- Toxic Buy Now

12.
Bernard Sumner
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Bernard Edward Sumner, also briefly known as Bernard Albrecht, is an English singer, songwriter, musician and record producer. He is a member of both Joy Division and New Order, and is widely credited with the latter bands move towards electronica. Sumner is widely credited in advancing UK dance music and the popularisation, in the early 1990s he recorded with Johnny Marr as Electronic. Sumner was a member of Joy Division, a Manchester band formed in 1976. The band is considered one of the most influential bands of the era. In May 1980, the singer, Ian Curtis, committed suicide. Sumner and remaining band members Peter Hook and Stephen Morris started a new band named New Order, though Hook, Morris and Gilbert also contributed vocals on some early tracks, Sumner emerged as the bands permanent singer and lyricist, alongside playing guitar and keyboards. Following a series of splits and reformations, the band have released ten studio albums, in 1989, Sumner joined up with former Smiths guitarist Johnny Marr to form Electronic. The Pet Shop Boys Neil Tennant collaborated on two tracks on their eponymous album, providing vocals. Sumner was their singer, guitarist, keyboardist and lyricist, Bad Lieutenant included fellow New Order member Phil Cunningham and Jake Evans of Rambo & Leroy. Stephen Morris of New Order and Blur bass player Alex James also performed on the debut album. Sumner provided vocals, guitar and lyrics, on 2 July 2009, Sumner confirmed that the single Sink or Swim would be released on 28 September 2009 and would be the first off their album Never Cry Another Tear. The single was hosted for free on the bands prior to its physical release, it was followed by a digital bundle release with remixes of the song by Mark Reeder, James Bright. As a result of the 2011 reformation of New Order, Bad Lieutenant are now on hiatus, in 1983, Sumner co-produced, with Donald Johnson, the single The Great Divide/Love in a Strange Place by the band Foreign Press. Foreign Press had had a history with Sumner through both Joy Division and New Order. In 1990, he worked with former Factory Records label sharers A Certain Ratio remixing their song Wont Stop Loving You and he has also recorded tracks with fellow Mancunians 808 State and Sub Sub. He has also lent vocals and guitar to a track on German trance outfit Blank & Jones 2008 release, Sumner also appeared on the Primal Scream track Shoot Speed Kill Light from their 2000 album XTRMNTR. Sumner was educated at Salford Grammar School, from 1976 to 1979, Sumner was employed at the animation studio Cosgrove Hall Films as an artist on Jamie and the Magic Torch